BWW Reviews: Moonshadow in Melbourne - Haunting
By: Tim Carney Jun. 01, 2012
It is so hard to know what to make of last nights world premiere of Yusef/Cat Stevens musical Moonshadow. I would like to talk to you about the story but unfortunately there is no delineated plot to speak of. I would like to tell you what it's about, but at interval I was unsure, by it's conclusion I had no idea. The script is so banal, devoid of purpose and meaning that a concert version would have been far more enjoyable. However, this was not the case and so we delve a little further.
Moonshadow borrows references from many shows throughout its journey. It is closest in style to We Will Rock You and follows a similar path...boy living in a world with only shadows goes on a journey to find the sun, only to come up against evil queen whom he finally defeats. Quite similar you would say to boy living in a world with no music goes on a journey to find the music only to be thwarted by killer queen but in the end the music prevails. The only difference is Ben Eltons flimsy script looks like Shakespeare compared to this. Moonshadow also references Pippin, Sweet Charity, (in a tribute to rhythm of life) Batboy, Sweeney Todd, The Bakers Wife and Into The Woods highlighting its serious lack of original concept.
Apart from these glaringly obvious flaws, Moonshadow succeeds in many other ways. Its cast is of the highest order. Gareth Keengan has all the charisma and vocal flexibility required for the role of our hero Stormy.
He is aptly supported by Jolyn James as Moonshadow, and Blake Bowden as Pat Matthews. All three leading men have super voices and moments to shine. Marney McQueen is glamorous as anti-heroine Princess Zeena and can really belt out a tune and Gemma Ashley Kaplan is warm in her understated portrayal of Stormy's love interest Lisa and sings beautifully throughout. The ensemble is a thrilling mix of singers and dancers who work feverishly throughout the night and are a real highlight of the show.
Moonshadow succeeds in three other areas. Nimrod Weiss' projections really work in this mystical setting. They make up a large proportion of the show and are particularly effective. Yvette Lee's choreography is fresh, stylistically perfect and brilliantly executed by the cast and finally the musical arrangements and orchestrations of Yusef/Cat Stevens songs from Stephen Amos are first class.
The music of Yusef/Cat Stevens will be enough for many people to have an enjoyable night at the theatre. However, in the medium of theatre it is particularly hard to place this piece. In reflecting upon this musical I am still wondering what its all about and maybe that is the genius of Yusef. Hopefully for the sake of some wonderful performers and some great music people are intrigued enough to have a look, but don't be surprised if you leave at the show's conclusion scratching your head.
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